FROM    THE   LIBRARY   OF 


REV.    LOUIS    FITZGERALD    BENSON,   D.  D 


BEQUEATHED    BY    HIM    TO 


THE    LIBRARY   OF 


PRINCETON   THEOLOGICAL   SEMINARY 


/ 


THE    QUANTITATIVE 


OF  LATIN  POETOfeisE^ 


OF 


bum** 


BY 


J/ 


CHARLES   E.    BENNETT 

PROFESSOR  OF  LATIN  IN  CORNELL  UNIVERSITY 


•Boston 

ALLYN    AND    BACON 

1899 


COPYRIGHT,  1S9  9,  BY 
CHARLES   E.   BENNETT. 


J.  S.  Cushing  &  Co.  -  Berwick  k  Smith 
Norwood  Mass.  U.S.A. 


PREFACE 

This  pamphlet  is  published  in  accordance  with  a  plan 
formed  several  years  ago.  Few  pupils  learn  to  read 
Latin  poetry  with  ease  and  enjoyment.  What  ought  to 
be  a  pleasure  seldom  rises  above  the  dreary  routine  of  a 
mechanical  task.  The  writer  feels  justified  by  his  own 
experience  in  asserting  that  something  more  than  this  — 
much  more  in  fact  —  is  easily  within  the  reach  of  all 
who  will  faithfully  carry  out  the  simple  precepts  laid 
down  in  the  following  pages.  It  is  this  conviction 
which  has  led  to  the  publication  of  this  little  book. 

The  rules  for  quantity,  along  with  nearly  all  the 
definitions  of  the  leading  terms  of  metre  and  prosody, 
have  designedly  been  omitted.  These  are  easily  accessi- 
ble in  any  Latin  grammar. 

C.  E.  B. 

Ithaca,  March,  1899. 


ill 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Princeton  Theological  Seminary  Library 


http://archive.org/details/quantitativeOObenn 


THE   QUANTITATIVE  READING  OF 

LATIN   POETRY. 


■OO^OC- 


PART  I. 

TEE   DACTYLIC   HEXAMETER. 


§  1.     GENERAL   CHARACTER   OF   LATIN  POETRY. 

English  poetry,  as  a  rule,  is  based  on  stress,  i.e.  on  a 
regular  succession  of  accented  and  unaccented  syllables. 
The  versification  of 

This  is  the  forest  primeval,  the  murmuring  pines  and 
the  hemlocks, 

depends  entirely  upon  this  alternation  of  accented  and 
unaccented  syllables,  and  the  same  thing  is  true  of  all 
ordinary  English  verse.  This  basis  of  English  poetry, 
moreover,  is  a  result  of  the  very  nature  of  the  English 
language.  Like  all  languages  of  the  Teutonic  group, 
our  English  speech  is  characterized  by  a  strong  word- 
accent. 

Latin  verse,  on  the  other  hand,  was  based  on  quantity; 
a  line  of  Latin  poetry  consisted  of  a  regular  succession 
of  long  and  short  syllables,  i.e.  of  syllables  which  it  took 

1 


2  General   Character  of  Latin  Poetry. 

a  long  or  short  time  to  pronounce.  This  basis  of  Latin 
poetry,  as  in  the  case  of  English  poetry,  is  strictly  in 
conformity  with  the  character  of  the  spoken  language. 
For  classical  Latin  was  not  a  language  in  which  there 
was  a  strong  word-accent.  The  word-accent,  in  fact, 
must  have  been  extremely  weak.  Different  languages 
differ  very  greatly  in  this  respect,  and  we  ought  to  bear 
*this  fact  in  mind  in  thinking  of  Latin.  In  Latin,  word- 
accent  was  so  weak  that  it  could  not  be  made  the  basis 
of  versification  as  it  is  in  English,  while,  on  the  other 
hand,  quantity  was  a  strongly  marked  feature  of  the 
spoken  language.  Thus  we  see  how  it  came  about  that 
quantity  was  made  the  basis  of  Latin  verse,  and  why 
accent  was  not. 

We  are,  then,  to  conceive  of  a  line  of  Latin  poetry  as 
consisting  simply  of  a  regular  arrangement  of  long  and 
short  syllables, — nothing  else.  To  read  Latin  poetry, 
therefore,  it  is  necessary  simply  to  pronounce  the  words 
with  the  proper  quantity.  This  takes  some  patience  and 
practice,  but  it  is  easily  within  the  power  of  every  pupil 
of  Latin  who  can  read  Latin  prose  with  quantitative 
accuracy.  It  is  in  Latin  as  in  English :  Any  one  who 
can  read  prose  with  accuracy  and  fluency  has  no  difficulty 
in  reading  poetry.  The  poet  arranges  the  words  in  such 
wise  that  they  make  poetry  of  themselves,  if  they  are 
only  properly  pronounced.  No  other  kind  of  poetry  was 
ever  known  in  any  language.     No  other  is  conceivable. 

Of  course  it  necessarily  takes  time  for  the  student's 
ear  to  become  sensitive  to  quantitative  differences  and 
to  acquire  a  feeling  for  the  quantitative  swing  of  Latin 


Ictus.  3 

verse.  Yet,  with  patience  and  abundant  practice  in  care- 
ful pronunciation,  the  quantitative  sense  is  bound  to 
develop.  At  all  events,  no  other  method  of  reading 
should  be  attempted,  for  no  other  is  right. 


§  2.     ICTUS. 

In  Latin  there  are  four  chief  kinds  of  feet : 

__  \j    Trochee,  _  \j  \j    Dactyl, 

\j  _   Iambus,  \j  \j  _   Anapaest. 

In  every  one  of  these  feet  the  long  syllable  naturally 
stands  out  with  greater  prominence.  This  quantitative 
prominence  is  called  ictus.1  Thus  in  the  Dactyl  the  ictus 
or  quantitative  prominence  rests  upon  the  first  syllable. 
Whenever  a  Spondee  is  substituted  for  the  Dactyl,  as  is 
often  the  case,  the  ictus  or  quantitative  prominence  is 
naturally  felt  as  resting  upon  the  first  long  of  the 
Spondee. 

Let  the  pupil,  then,  remember  that  ictus  is  not  an 
accent,  as  sometimes  taught,  but  is  simply  the  quantita- 
tive prominence  of  a  certain  syllable  of  every  foot.  It 
may  take  time  for  the  pupil  to  appreciate  the  full  force 
of  this  definition;  but  just  so  soon  as  a  sense  is  acquired 
for  the  quantitative  character  of  Latin  poetry,  the  natu- 
ralness of  the  above  conception  of  ictus  will  be  sufficiently 
apparent. 

1  The  justification  of  this  definition  may  be  found  in  an  article  by 
the  writer,  published  in  the  American  Journal  of  Philology,  Vol.  XIX, 
No.  76. 


4  Word-Accent. 

§  3.     WORD-ACCENT. 

In  reading  Latin  poetry,  the  ordinary  accent  of  the 
words  should  not  be  neglected.  But,  as  we  have  already 
seen  above,  in  §  1,  the  word-accent  in  Latin  was  exceed- 
ingly slight.  We  almost  invariably  accent  Latin  words 
altogether  too  strongly.  As  a  result  we  destroy  the 
quantity  of  the  remaining  syllables  of  a  word.  Thus, 
in  a  word  like  evitabatur,  we  are  inclined  to  stress  the 
penultimate  syllable  with  such  energy  as  to  reduce  the 
quantity  of  the  vowel  in  each  of  the  three  preceding 
syllables.  In  this  way,  the  pupil  says  e-vl-ta-ba-tur.  Such 
a  pronunciation  is  a  fatal  defect  in  reading.  What  we 
ought  to  do  is  to  make  the  quantity  prominent  and  the 
accent  very  slight.  Where  this  is  done,  the  accent  will 
be  felt  to  be  subordinate  to  the  quantity,  as  it  ought  to 
be,  and  as  it  must  be  if  one  is  ever  to  acquire  a  feeling 
for  the  quantitative  character  of  Latin  poetry.  If  the 
quantity  is  not  made  more  prominent  than  the  accent, 
the  accent  is  bound  to  be  more  prominent  than  the  quan- 
tity, which  will  be  fatal  to  the  acquisition  of  a  quantita- 
tive sense  for  the  verse. 

§  4.  SPECIAL  CAUTIONS  TO  BE  OBSERVED  IN  ORDER 
TO  SECURE  CORRECT  SYLLABIC  QUANTITY  IN 
READING. 

Inasmuch  as  Latin  poetry  was  based  on  the  quantity 
of  syllables,  it  is  obvious  that  the  greatest  care  must  be 
taken  in  the  pronunciation  of  the  words  with  a  view  to 
securing  an  absolutely  correct  syllabic  quantity.     Other- 


Special  Cautions  in  Reading.  5 

wise  the  metrical  (i.e.  quantitative)  character  of  the  verse 
is  violated,  and  the  effect  intended  by  the  poet  is  lost. 
To  ignore  the  proper  quantity  of  the  syllables  is  as 
disastrous  in  a  line  of  Latin  poetry  as  it  would  be  in 
English  poetry  to  misplace  the  word-accent.  If  one  were 
to  read  the  opening  line  of  Longfellow's  Evangeline,  for 
example,  as  follows : 

This  is  the  fore*st  primeval, 

the  result  would  be  no  more  disastrous  than  to  read  a 
line  of  Latin  poetry  with  neglect  of  the  quantity. 

In  reading  Latin  verse,  there  are  two  classes  of  errors 
to  which  the  student  is  particularly  liable,  either  one  of 
which  results  in  giving  a  wrong  syllabic  quantity. 

Class  First. 
In  '  Open '  *  Syllables. 

Here  the  quantity  of  the  syllable  is  always  the 
same  as  the  quantity  of  the  vowel.  Thus,  in  ma-ter 
the  first  syllable  is  long;  in  pa-ter,  the  first  syllable  is 
short. 

This  being  so,  it  is  imperative  that  the  pupil  should 
in  -open'  syllables  scrupulously  observe  the  quantity  of 
the  vowel.  If  he  pronounces  a  short  vowel  long,  or  a 
long  vowel  short,  he  thereby  gives  a  false  quantity  to 
the  syllable,  and  thus  wrecks  the  line  completely.     The 

1  An  ■  open '  syllable  is  one  whose  vowel  is  followed  by  a  single  con- 
sonant (or  by  a  mute  with  1  or  r).  This  single  consonant  (or  the  mute 
with  1  or  r)  is  joined  with  the  vowel  of  the  following  syllable,  thus 
leaving  the  previous  syllable  'open.' 


6  Special  Cautions  in  Reading. 

pupil,  therefore,  must  know  the  quantity  of  every  vowel, 
and  must  pronounce  in  the  light  of  his  knowledge.  He 
must  not  say  gero,  tero,  sero  (for  gero,  tero,  sero) ;  nor  must 
he  say  pater,  ager,  nisi,  quod,  quibus,  ingenium,  es  ('thou 
art'),  etc.  One  such  error  in  a  verse  is  fatal  to  its  met- 
rical structure,  and  the  pupil  who  habitually  commits 
such  errors  in  reading  is  simply  wasting  valuable  time. 

Class  Second. 

In  'Closed'1  Syllables. 

It  is  a  fundamental  fact  that  a  '  closed '  syllable  is  long. 
But  in  order  to  be  long  it  must  be  actually  closed  in  pro- 
nunciation. Eight  here  is  where  the  pupil  is  apt  to  err. 
He  fails  to  make  the  syllable  '  closed,'  i.e.  he  does  not 
join  the  first  of  the  two  or  more  consonants  to  the  pre- 
ceding vowel,  but  joins  all  of  the  consonants  with  the 
following  vowel.  He  thus  leaves  the  preceding  syllable 
'open.'  Hence,  if  the  vowel  itself  is  short,  the  syllable 
by  this  incorrect  pronunciation  is  made  short,  where  it 
ought  to  be  made  long.  Thus  the  student  is  apt  to  say 
tem-pe-sta-ti-bus  where  he  ought  to  say  tem-pes-ta-ti-bus, 
i.e.  he  joins  both  the  s  and  the  t  with  the  following 
vowel,  where  he  ought  to  join  the  s  with  the  preceding 

1  A  '  closed '  syllable  is  one  whose  vowel  is  followed  by  two  or  more 
consonants  (except  a  mute  with  1  or  r) .  The  first  of  the  two  (or  more) 
consonants  is  regularly  joined  in  pronunciation  with  the  preceding 
vowel,  thus  closing  the  preceding  syllable.  This  is  the  real  significance 
of  the  common  rule  that  a  syllable  is  long  when  a  short  vowel  is  fol- 
lowed by  two  consonants.  It  is  because  one  of  the  consonants  is  joined 
to  the  preceding  vowel,  thus  closing  the  syllable. 


Special  Cautions  in  Reading.  7 

vowel  (thus  making  a  ' closed'  syllable),  and  only  the  t 
with  the  following  vowel.1 

Errors  of  the  kind  referred  to  are  so  liable  to  occur 
that  it  seems  best  to  classify  them  by  groups : 

(a)  The  commonest  class  consists  of  those  words  which 
contain  a  short  vowel  followed  by  doubled  consonants  (pp, 
cc,  tt,  etc.),  —  words  of  the  type  of  ap-parabat,  ac-cipiebam, 
at-tigerant,  ges-serunt,  ter-ra-rum,  an-norum,  ad-diderat,  flam- 
marnm,  excel-lentia,  ag-gerimus,  etc.  In  Latin,  both  of  the 
doubled  consonants  were  pronounced,  one  being  com- 
bined with  the  previous  vowel  (thus  closing  the  syllable 
and  making  it  long),  one  with  the  following  vowel.  But 
in  English  we  practically  never  have  doubled  consonants. 
We  write  them  and  print  them,  but  we  do  not  pronounce 
them.  Thus,  we  write  and  print  kit-ty,  fer-ry,  etc.,  but  we 
do  not  pronounce  two  t's  or  two  r's  in  these  words  any 
more  than  in  pity,  which  we  write  with  one  t,  or  in  very, 
which  we  write  with  one  r.  Now,  in  pronouncing  Latin 
the  pupil  is  very  apt  to  pronounce  the  doubled  consonants 
of  that  language  as  single  consonants,  just  as  he  does  in 
English.  Thus  he  naturally  pronounces  the  words  above 
given,  not  ap-pa-ra-bat,  etc.,  but  a-pa-rabat,  a-cipiebam, 
a-tige-rant,  ge-serunt,  te-rarum,  a-norum,  a-diderat,  fla-marum, 
exce-lentia,  a-gerimus.  In  other  words,  the  pupil  pro- 
nounces only  one  consonant,  where  he  ought  to  pro- 
nounce two,  and  that  one  consonant  he  joins  with  the 
following  vowel.    He  thus  leaves  the  preceding  syllable 

1  This  doctrine,  to  be  sure,  contradicts  the  rules  given  in  grammars 
for  division  of  words  into  syllables  ;  but  those  rules  apply  only  to  writ- 
ing, not  to  actual  utterance.    See  Bennett,  Appendix  to  Lat.  G?\,  §  35. 


8  Special  Cautions  in  Beading. 

'open/  i.e.  he  makes  it  short  where  it  ought  to  be 
long. 

The  effects  of  this  pronunciation  are  disastrous  in 
reading  Latin  poetry,  for  these  doubled  consonants  occur 
on  an  average  in  every  other  line  of  Latin  poetry. 

(6)  The  second  group  consists  of  words  in  which  a 
short  vowel  is  followed  by  sp,  sc,  st ;  also  by  scl,  scr,  str. 
In  English,  when  the  vowel  following  these  combinations 
is  accented,  we  usually  combine  the  consonants  with  the 
following  vowel.  Thus,  we  say  a-scribe,  a-stoiinding,  etc. 
Xow,  the  Latin  pupil  is  almost  certain  to  do  the  same 
thing  in  pronouncing  Latin,  unless  he  is  on  his  guard, 
i.e.  he  is  likely  to  say  a-spersus,  i-storum,  tempe-stivus, 
coru-scabat,  mi-scuerat,  magi-stronim,  a-scripsit,  etc.  What  lie 
ought  to  do  is  to  join  the  s  with  the  preceding  vowel 
(thus  making  the  syllable  closed,  and  long),  pronouncing 
as-persus,  is-torum,  tempes-tivus,  corus-cabat,  mis-cuerat,  magis- 
trorum,  as-cnpsit,  etc.  By  joining  all  the  consonants  to 
the  following  vowel  he  leaves  the  preceding  syllable 
open.  Hence,  when  the  preceding  vowel  is  short,  the 
syllable  also  becomes  short.  This  destroys  the  metre 
of  the  line. 

(c)  The  third  group  consists  of  words  containing  a 
short  vowel  followed  by  r  and  some  consonant.  In  our 
common  English  utterance  we  are  very  apt  to  neglect 
the  r.  This  tendency  is  all  but  universal  in  New  Eng- 
land, and  is  widely  prevalent  in  the  Middle  States.  As 
a  result,  the  pupil  is  apt  to  pronounce  Latin  with  the 
same  neglect  of  the  r  as  he  habitually  practises  in  the 
vernacular.      This   omission   occurs   particularly   where 


Special  Cautions  in  Reading.  9 

the  preceding  vowel  is  unaccented,  e.g.  in  portarum,  ter- 
minorum,  etc.  The  pupil  is  likely  to  say  po(r)-tarum, 
te(r)-minorum,  i.e.  he  makes  the  preceding  syllable  'open' 
and  short,  where  it  ought  to  be  ' closed'  and  long.  In 
order  to  close  the  syllable,  a  distinct  articulation  of  the 
r  is  necessary.  When  this  is  overlooked,  the  quantity 
of  the  syllable  is  lost  and  the  metrical  character  of  the 
line  is  destroyed. 

(d)  The  fourth  group  of  words  consists  of  those  ending 
in  s,  preceded  by  a  short  vowel  and  followed  by  words 
beginning  with  c,  p,  t,  v,  m,  n,  f.  In  English  we  are  very 
apt  to  join  the  final  s  to  the  initial  consonant  of  the 
following  word.  Thus  we  habitually  say  grievou  stale 
for  grievous  tale ;  Lewi  sTaylor  for  Lewis  Taylor,  etc.  There 
is  great  danger  of  doing  the  same  thing  in  Latin.  Expe- 
rience teaches  that  pupils  often  say  urbl  sportas  for  nrbis 
portas;  cap!  scanem  for  capis  canem;  even  urbi  svici  for 
urbis  vici,  etc.  Care  must  be  taken  to  join  the  final  s 
clearly  with  the  preceding  vowel.  Otherwise  the  pre- 
ceding syllable  will  be  left  'open'  and  short  where  it 
ought  to  be  ' closed'  and  long. 

The  foregoing  cautions  are  not  mere  theoretical  inven- 
tions. They  are  vital,  and  are  based  on  experience  of 
the  errors  which  we  as  English-speaking  people  natu- 
rally commit  when  we  pronounce  Latin.  It  is  only  by 
a  conscientious  observance  of  the  principles  above  laid 
down  that  any  one  can  read  Latin  poetry  quantitatively ; 
and  unless  we  do  so  read  it,  we  necessarily  fail  to  repro- 
duce its  true  character. 


10  Common  Syllables.  —  Elision. 

§  5.     COMMON   SYLLABLES. 

As  is  well  known,  when  a  short  vowel  is  followed  by  a 
mute  with  1  or  r  (pi,  cl,  tl ;  pr,  cr,  tr ;  etc.),  the  syllable  is 
common,  i.e.  it  may  be  either  long  or  short  in  verse  at 
the  option  of  the  poet.  The  explanation  of  this  pecu- 
liarity is  as  follows : 

In  a  word  like  patrem,  for  example,  it  was  recognized 
as  legitimate  to  pronounce  in  two  ways ;  either  to  com- 
bine the  tr  with  the  following  vowel  (pa-trem),  thus 
leaving  the  preceding  syllable  'open'  and  short,  or  to 
join  the  t  with  the  preceding  vowel  (pat-rem),  thus  closing 
the  preceding  syllable  and  making  it  long.  Hence,  in 
the  case  of  common  syllables,  the  quantity  in  each  indi- 
vidual instance  depends  upon  the  mode  of  pronunciation, 
i.e.  the  mode  in  which  we  divide  the  syllable.  In  read- 
ing Latin  poetry,  therefore,  it  will  be  necessary  for  the 
pupil  to  observe  how  the  poet  treats  each  common  syl- 
lable, and  to  pronounce  accordingly. 

§  6.     ELISION. 

The  rule  for  Elision,  as  stated  in  our  Latin  grammars, 
is  in  substance  as  follows:  "A  final  vowel,  a  final  diph- 
thong, or  m  with  a  preceding  vowel,1  is  regularly  elided 
before  a  word  beginning  with  a  vowel  or  h." 

The  exact  nature  of  Elision,  as  observed  by  the  ancients 
in  reading  Latin  verse,  is  still  very  uncertain.  The 
Romans  may  have  slurred  the  words  together  in  some 

1  The  elision  of  final  m  with  a  preceding  vowel  is  sometimes  called 
Ecthlipsis. 


Verses  for  Practice.  11 

way,  or  they  may  have  omitted  the  elided  part  entirely. 
In  practice,  the  latter  procedure  is  probably  the  wiser 
one  to  follow.1 

§  7.     VERSES  FOR  PRACTICE. 

In  arranging  the  following  examples  for  practice,  the 
aim  has  been  to  proceed  from  the  easier  to  the  more 
difficult  types  of  verse.  The  pupil  is  advised  to  bear 
in  mind  the  four  following  fundamental  principles  : 

1.  Observe  the  quantity  of  each  syllable  scrupulously, 
taking  care  to  observe  the  division  of  the  syllables  as 
indicated  by  the  hyphens,  joining  the  consonant  before 
the  hyphen  with  the  preceding  vowel,  and  so  closing  the 
syllable. 

2.  Make  the  word-accent  light ;  subordinate  it  care- 
fully to  quantity. 

3.  Endeavor  to  cultivate  the  quantitative  sense,  i.e.  to 
feel  the  verse  as  consisting  of  a  succession  of  long  and 
short  intervals. 

4.  Do  not  attempt  to  give  special  expression  to  the 
ictus  in  any  way.  The  ictus  will  care  for  itself  if  the 
syllables  are  properly  pronounced. 

1  The  writer  of  this  little  pamphlet  has  frequently  been  favored  by 
prominent  advocates  of  'slurring,'  with  practical  illustrations  of  the 
method  of  reading  recommended  by  them  ;  but  these  experiments  have 
invariably  seemed  to  result  in  producing  more  syllables  than  the  verse 
demands.    For  example,  in  a  verse  like 

Vix   a-dejo   ag-no|vit, 

the  second  foot  has  inevitably  taken  the  form  u ,  where  slurring 

was  attempted,  while  in  a  verse  like 

Tan-dem  |  cor-ri-pu|it  se|se  atque  i-ni|mi-ca  re|fu-git, 
the  fourth  foot,  by  slurring,  has  become  u_  u  u  o. 


12  Verses  for  Practice. 

A.     VERSES   CONTAINING  NO   ELISIONS. 

I.  The  '  ictus  *  falls  upon  an  accented  syllable  in  all  the 

feet.1 

Dig-num  |  men-te  do  mo-que  le|gen-tis  ho'nes-ta  M"e|ro-nis 
La-bi-tur  |  unc-ta  ca:ri-na  per  |  ae-quo-ra  |  ca-na  cejlo-cis 
Ster-ni-tur  |  ae-quo-ris  j  un-da  re  |sol-vi-tur  |  ae-the-ris  |  um-bra 
Sed  ta-men  |  an-ni  j  iam  lajbun-tur  |  tem-po-re  |  to-to 

II.  The  ; ictus'  falls  upon  an  accented  syllable  in  all  the 

feet  but  one  (usually  the  third). 

Tan-tae  j  mo-lis  e  rat  Eo|ma-nam  J  con-de-re  |  gen-tem 
Ta-li-a  |  vo-ce  revert :  i 0     ter-que  qua|ter-que  beat! 
Ae-quo-ra  |  tti-ta  si  .lent ;  turn  |  sil-vis  j  scae-na  co|rns-cis 
Oon-sti-tit  j  hie  ar|cum-que  ma|nu  ce-le'ns-qne  sa'git-tas 
Pars  in  |  fm-sta  se  cant  ve-rijbns-que  tre|men-ti-a  |  fi-gunt. 
Hie  pi-e  ta-tis  ho  nos  ?     Sic  |  nos  in  |  scep-tra  re  po-nis  ? 
Et  jam  |  jus-sa  fa,cit,  po  nunt-que  fe |ro-ci-a  |  Poe-ni. 
Con-ju-gis,     o-ra  mo  dis  at,tol-lens     pal-li-da  |  mi-ris 
Tro-jae  |  no-men  i,it  di|ver-sa  per  |  ae-quo-ra  |  vec-tos 
Nam-que  vi debat  nti  bel(lan-tes  |  Per-ga-ma  |  cir-cum 
Lo-ra  te'nens  ta-men  ;     huic  cer  vix-que  co  mae-que  tra|hun-tur 
An-the-a  |  Ser-ges  tum-que  vi|det  for  tem-que  Olojan-thum 
0  regl-na7  novam  cui  ||  con-de-re  |  Jup-pi-ter  |  ur-bem 
Nee  pi-e  ta-te  fu';it?  nee  |  bel-lo  |  ma-jor  et  |  ar-mis. 
Scin-dit  |  se  nu^bes  et  in  |  ae-the-ra  |  pur-gat  a'per-tum 
Prae-mi-a  |  dig-na  fe  rant.     Quae  |  te  tarn  |  lae-ta  tujlerunt 
Quis  te     na-te  de  a,  per  |  tan-ta  pe  ri-cu-la  |  ca-sus 

1  Verses  of  this  type  are  extremely  rare. 


Verses  Containing  No  Elisions.  13 

Vo-ci-bus  I  et  ve-reor,  quo  |  se  Juno-ni-a  |  ver-tant 
In-star  |  mon-tis  e  quum  di  vi-na  |  Pal-la-dis  ||  ar-te 
Hue  de  lec-ta  vi  rum  sor  ti-ti  |  cor-po-ra  |  fur-tim 
Olas-si-bus  |  hie  lo-cus ;     hie  a-ci  e  cer  ta-re  sojle-bant 
Et,  si  |  fa-ta  dejum,  si  |  mens  non  |  laeva  fujisset 
Vel-li-tur  |  huic  atro  liquun-tur  |  san-gui-ne  |  gut-tae 
Ac-ci-pit  |  e-gres  si  ve-ne|ra-mur  A  pol-li-nis  |  ur-bem 
Glo-ri-a,  |  quern  falsa  sub  |  pro-di-ti  one  Pe  las-gi 
Pro-tra-hit  |  in  me-di  os ;    quae  |  sint  e-a  |  nti-mi-na  |  di-vom 
Dix-e-rat.     |  Il-le  do  lis  in  struc-tus  et  |  ar-te  Pe|las-ga 
Nam  si  |  ves-tra  manus  vi-o  las-set  |  do-na  Miner-vae 
Ore-di-ta  |  res,  capti-que  do  lis  la-cri|mis-que  coac-tis 
Sub  pe-dibus-que  de^ae  cli-pei-que  sub  |  or-be  tegun-tur 
Et  Me-ne  la-us,  et  |  ip-se  dojli  fa-bri|ca-tor  Epe-os 
Pul-ve-re?     per-que  pe  des  trajjec-tus  |  lo-ra  tujmen-tis 
Il-le  nijhil,  nee  |  me  quae|ren-tem  |  va-na  mora-tur 
Sac-ra  su  os-que  ti;bi  com|men-dat  |  Tro-ja  pena-tis 
In-ci-dit  |[  aut  ra-pi|dus  mon|ta-no  |  flu-mi-ne  |  tor-rens 
Strio-ta  pajra-ta  ne|ci ;   vix  |  pri-mi  |  proe-li-a  |  temp-tant 
Plu-ri-ma  |  per-que  vijas  ster |nun-tur  inler-ti-a  |  pas-sim 
Lu-mi-na  |  nam  te-ne'ras  arjee-bant     vin-cu-la  |  pal-mas 
As-pi-ce  |  bis  se  nos  lae  tan-tis  |  ag-mi-ne  |  cyc-nos 
Vir-gi-nis  j  os  ha-bitum-que  gelrens  et  |  vir-gi-nis  |  ar-ma. 
As-pe-ra  |  turn  po-si|tis  mi  tes-cent  |  sae-cu-la  |  bel-lis. 
Ju-li-us  I  a  mag  no  de|  mis-sum  |  no-men  I  ti-lus. 
Ter-ti-a  I  dum  La-ti  o  ree:!nan-tem  I  vi-de-rit  I  aes-tas 

I  I  O I  I  i 

Tem-pe-ret  |  a  la-cri'mis  ?     Et  |  jam  nox  j  ii-mi-da  |  cae-lo 
Quo  fre-mi^us  vo-cat  |  et  subla-tus  ad  j  ae-the-ra  |  cla-mor 


14  Ve?*ses  for  Practice. 

Fla-gi-tat  |  et  nii-hi  |  jam  mul|ti  cru|de-le  ca|ne-bant 
Nee  non  |  et  Ty-ri|i  per  |  ll-mi-na  |  lae-ta  fre|quen-tes 
StI-pant  |  et  dul|cl  dis|ten-dunt  |  nec-ta-re  |  eel-las 
Con-sti-tit  J  et  Li-by|ae  dejfix-it  |  lti-mi-na  |  reg-nis. 
Di-vi-dit  J  et  dic|tis  mae|ren-ti-a  |  pec-to-ra  |  mul-cet 
Lu-na  pre|mit  sua|dent-que  ca|den-ti-a  |  si-de-ra  |  som-nos 

III.    The  'ictus'  falls  upon  an  accented  syllable  in  all  the 

feet  but  two. 

Un-de  per  |  o-ra  no|vem  vas|to  cum  |  mur-mu-re  |  mon-tis 

Trans-fe-ret  |  et  Lonjgam  mul|ta  vi  |  mti-iii-et  |  Al-bam 

Hos-pi-ti|o  Teujcris,  ne  ||  fa-ti  |  nes-ci-a  |  Di-do 

Ac-ci-pit  |  in  Teujcros  a-ni|mum  men|tem-que  be|mg-nam 

Pol-lu-it  |  o-re  da|pes.     So-ci|is  tunc  |  ar-ma  ca|pes-sant 

Nu-da  ge|nti  no|do-que  si|nus  col|lec-ta  flu|en-tis 

Et  quo  |  sub  cae|lo  tan|dem  qui-bus  |  or-bis  in  |  o-ris 

Turn  Ve-nus  :     ^Haud  e-qui|dem  ta|li  me  |  dig-nor  ho|no-re 

Vir-gi-ni|bus  Ty-rijls  mos  |  est  ges|ta-re  pba|ret-ram 

Sed  fi|nes  Li-by|ci,  ge-nus  |  in-trac|ta-bi-le  |  bel-lo 

In-ci-pit  |  et  do|no  di|vom  gra|tis-si-ma  |  ser-pit 

Et  ma-gis  |  at-que  ma|gis,  quam|quam  se|cre-ta  pa|ren-tis 

In  se-ge|tem  ve-lu|ti  cum  |  flam-ma  fu|ren-ti-bus  |  aus-tris 

Prae-ci-pi|tls-que  tra|hit  sil|vas,  stu-pet  |  In-sci-us  j  al-to 

Sac-ra  majnu  vic|tos-que  de|os  par|vum-que  ne|po-tem 

Quo  res  |  sum-ma  lo|co  Pan|thu?   Quam  |  pren-di-mus  |  ar-cem 

Glo-ri-a  |  Teu-cro|rum;   fe-rus  |  om-nia  |  Jup-pi-ter  |  Ar-gos 

Fun-dit  e|quus  vic|tor-que  Sijnon  in|cen-di-a  |  mis-cet 

Ml-li-a  |  quot  mag|nis  um|quam  vejne-re  My|ce-ms 


Verses  Containing  No  Elisions.  15 

Por-ta|rum  vi-gi|les  et  |  cae-co  [  Mar-te  re|sis-tunt 
Lae-ta  fajcit ;  spo-lijis  se  |  quis-que  re|cen-ti-bus  |  ar-mat 
Ad  caelum  ten|dens  ar|den-ti-a  |  lu-mi-na  |  frus-tra 
Li-men  e|rat  caejcae-que  fojres  et  |  per-vi-us  |  u-sus 
Nos  pa-vi,di  tre-pi|da-re  mejtu  cri|nem-que  flajgran-tem 

IV.    The  'ictus'  fails  in  three  feet  to  fall  upon  an 

accented  syllable. 

Tri-ginjta  magjnos  voljven-dls  |  men-si-bus  |  or-bis 
Cum  so-ci|is  arjdent  a-ni|mi ;   fu-ror  |  I-ra-que  |  men-tem 
Trans-tu-lit  |  in-cen|sa  Da-nai  do-mi |nan-tur  in  |  ur-be 
Ar-du-us  |  ar-ma]tos  me-dils  in  |  moe-ni-bus  |  ad-stans 
In-felix  qui  |  non  sponjsae  prae|cep-ta  fu|ren-tis 
Et  ge-ner  |  aux-i-li|um  Pri-a|mo  Phry-gi  bus-que  fejre-bat 
In-ci-pi|o  su-per  |  his :  Ju-ve|nes,  for|tis-si-ma  |  frus-tra 
U-na  sa|lus  vicjtis  ntil|lam  spera-re  sajlu-tem 
Fau-ci-bus  ||  ex-spec|tant  sicjcis,  per  |  te-la,  per  |  hos-tis 
Pi-da  sajtis,  sen|sit  me-di|os  d^lap-sus  in  |  hos-tis 
Ob-sti-pu|it  ret|ro-que  pejdem  cum  |  vo-ce  re|pres-sit 
Ster-ni-mus.       As-pirat  pri|mo  for|tii-na  lajbo-ri 
Ap-te|mus :  do-lus  |  an  virtus,  quis  in  |  hos-te  requi-rat? 
Va-di-mus  |  im-mix'ti  Da-najis  baud  |  nti-mi-ne  |  nos-tro 
Ec-ce  tra|he-ba1tur  pasjsis  Pri-a|me-i-a  |  vir-go 
Ad-versi  rupjto  ceu  |  quon-dam  |  tur-bi-ne  |  ven-ti 
Et  Da-na|um  so-lijtae  najves  et  Ajcha-i-a  |  cas-tra 
Junc-tu|ras  ta-bu|la-ta  da|bant  con|vel-li-mus  |  al-tis 
Ex-suljtat  te|lis  et  |  lti-ce  co|rus-cus  a|e-na 
Nunc  po-sijtis  no-vus  |  ex-u-viis  ni-ti|dus-que  juiven-ta 


16  Verses  for  Practice. 

V.    The  'ictus'  fails  in  four  feet  to  fall  upon  an 

accented  syllable. 

Ac-ci-pijens  so-nijtum  saxji  de  |  ver-ti-ce  |  pas-tor 
In-si-di  ae  jam  |  De-i-pho|bi  de-dit  |  am-pla  ruii-nam 
Ex-egit  cae|cos  ra-bi|es  ca-tu|li-que  re|lic-ti 
Ap-pa|rent  prl|ml  cli-pejos  men|tl-ta-que  |  te-la 
Ag-gres|si  fer|ro  cir|cnm  qua  |  sum-ma  la|ban-tis 
Bar-ba-rijco  posjtes  au|ro  spo-lijls-que  su|per-bi 
Per-sol|vant  gra|tis  dig|nas  et  |  prae-mi-a  |  red-dant 
Op-ta|bam  pri|mum  mon|tis  pri|mum-que  pejte-bam 
De-vol|Vtint  a-li|i  stric|tis  mtic|ron-i-bus  |  I-mas 
Im-me-ri|tam  vi|sum  su-pe|rls  ce-ci|dit-que  su|per-bum 

B.     VERSES   CONTAINING  ONE   ELISIONS 
I.    One  Conflict.2 

Lon-gi-us  |  et  volvens  fatorum  ar|can-a  mo|ve-bo 
Nul-la  tu  a-rum  au|di-ta  mi'hi  ne-que  |  vi-sa  sojro-rum 
Turn  ce-lejra-re  fujgam  pa-tri|a-que  ex|ce-de-re     sua-det 
Im-mi-net  |  ad-ver|sas-que  as|pec-tat  |  de-su-per  |  ar-ces 
Sic  a-it  |  at-que  a-m  mum  pic|tu-ra  |  pas-cit  i|na-ni 
Mul-ta  ge|mens  largo-que  u|mec-tat  |  fltl-mi-ne  |  vol-tum 
Us-quam  |  jus-ti-tia  |  est  et  |  mens  si-bi  |  con-sci-a  |  rec-ti 
Per  tot  |  duc-ta  vi|ros  an|ti-qua  ab  o|ri-gi-ne  |  gen-tis 
U-rit  a'trox  Jun°  |  et  sub  |  noc-tem  |  cu-ra  re  |  cur- sat 

1  On  the  method  of  reading  elided  syllables,  see  above,  p.  10. 

2  The  expressions  'one  conflict,'  'two  conflicts,'  etc.,  are  used  as 
briefer  ways  of  indicating  that  the  '  ictus '  fails  in  one  or  more  feet  to 
fall  upon  an  accented  syllable. 


Verses  Containing   One  Elision.  17 

Me  qua  |  sci-re  do;los  me-di  us-ve  oc;cur-re-re  |  pos-sit 
Ant  te-re bra-re  ca'vas  u-ter1  et  temp  ta-re  lateb-ras 
Aut  haec  |  in  nos|tr6s  fa-bri  ca-ta  est  |  ma-chi-na  |  mu-ros 
Seu  verjsa-re  dojlos,  seu  |  cer-tae  oc  cum-be-re  |  mor-ti 
Id-que  audi-re  sat  |  est?      Jam  |  du-dum  |  sti-mi-te  |  poe-nas 
Mit-ti-mus  |  is-que  a-dy  tis  haec  |  tns-ti-a  |  dic-ta  re  por-tat 
Pro-de-re  |  vo-ce  su'a  quern ;quam  aut  op  po-ne-re  |  mor-ti 
Vos  aeter-n1 12; nes  et  I  non  vi-o la-bi-le  I  ves-trum 
'Tes-tor  |  nu-men'  ait  'vos  |  a-^  enses-que  nefan-di 
Fas  0  dis-se  vi^ros  at  que  om-ni-a  |  fer-re  sub  |  au-ras 
Po-ne  le  git  si-nu  at-que  im'mensa  vo|lu-mi-ne  |  ter-ga 
Lae-se-rit  |  et  ter  go  sce-le  ra-tam  in  tor-se-rit     has-tam 
Vi-sus  ad|es-se  mi|hi  largos-que  efjfun-de-re  |  fle-tus 
Vol-ne-ralqu6  il-la  gejrens  quae  |  cir-cum  |  plu-ri-ma  |  mti-ros 
Fti-ne-ra  |  post  va-ri  os  ho-mi  num-que  ur  bis-que  la  bo-res 
Pec-to-ra  |  si  vobis  au|den-tem  extre-ma  cupi-do 

II.    Two  Conflicts. 

Eo-mu-lus  J  ex-ci-pi]et  gen'tem  et  Ma  vor-ti-a  |  con-det 
In-sci-us  I  at-que  ulltro  verbis  compel-lat  ami-cis 
Oon-fli'gunt  Ze-phy  rus-que  N"otus-que  et  |  lae-tus  E|o-is 
Spti-me-us  |  at-que  Ijmo  Ne  reus  ci-et  ||  ae-quo-ra  |  fun-do 
Fii-di-mus  |  in-si-di|is  to  ta-que  a-gi  ta-vi-mus  |  ur-be 
Tec-to  rlim  in-ter  |  se  Pri-a  ml  pos  tes-que  re  lic-ti 
Sup-pli-cis  J  e-ru-bu  it  cor|pus-que  ex  san-gue  se  pul-chro 
Eed-di-dit  ||  Hec-to-relum  me|que  in  me-a  |  reg-na  re'mi-sit 
E  sum  mo  cli-pe'i  nequi-quam  umbo-ne  pepen-dit 
Oui  Pyr rhus:  're-fe|res  erg5  haec  et  |  nun-ti-us  (  I-bis 


18  Verse*  for  Practice. 

Haec  finis  Pri-a]ml  fajto-rum;  hie  |  ex-i-tus  |  il-lum 
A-vol|sum-que  u-me|ris  ca-put  |  et  si-ne  |  no-mi-ne  |  cor-pus 
Ut  re|gcm  ae-quae|vum  cru|de-ll  |  vol-ne-re  J  vl-di 

III.  Three  Conflicts. 

Qiiis  cla|dem  il-li|us  nocjtis  qiiis     fii-ne-ra  |  fan-do? 
Mu-te  nms  cli-pe|os  Da-na|nm-qne  lnjsig-ni-a  |  no-bis 

Con-se-quimur  cunclt1  et  denlsis  in|cur-ri-mus  I  ar-mis 

j-    i  i  ii  i 

Un-di-que  |  col-lecjtT  in-va|dunt  a|cer-ri-mus  |  A-jax 
Ag-nos  cunt  at|que  o-ra  sojno  dis|cor-di-a  |  sig-nant 
I-li-a  ci  ci-ne|res  et  |  flam-ma  ex|tre-ma  me|o-rum 
Ni-tun|tur  gra-di|bus  cli-pe|os-qne  ad  |  te-la  si|nis-tris 
Ex-tre  ma  jaiu  in  |  mor-te  pa|rant  de|fen-de-re  |  te-lis 
E-duc|tam  tec  tis  un|de  om-iris  |  Tro-ja  vi|de-ri 
Suc-ce:dunt  tec't5  et  flam  |  mas  ad  |  cul-mi-na  |  jac-tant 
Am-plex'ae-qne  te|nent  pos|tis  at|que  os-cn-la  |  fi-gunt 
Im-mis  si  Da-naT     et  la|te  lo-ca  |  mi-li-te  |  com-plent 
Oir-ciim|dat  ne  qm-quam  u-meris  et  inju-ti-le  |  fer-rum 
Ip-sum  an  tern  stimpjtis  Pri-a|mum  jn-ve|na-li-bus  |  ar-mis 
Pe-ll|dae  ge-ni|to-rT  il|li  me-a  |  tris-ti-a  |  fac-ta 

IV.  Four  Conflicts. 

This  type  of  verse  is  rare.     Instances  are  : 

Pro-teC|tT  ob-(j)i-ci  unt  prenjsant  fas|ti-gi-a  |  dex-tris 
Ae-ratos  jam|que  ex-ci;sa  tra-be  |  fir-ma  ca|va-vit 


Vei'ses  Containing  Two  Elisions.  19 

C.     VERSES   CONTAINING  TWO   ELISIONS. 

I.    One  Conflict. 

Hie  He-cu|ba  et  na  tae  ne|qul-quam  al  ta-ri-a  |  cir-cum 
Nunc  mo-reTe-     Hoc  dlcens  al,ta-ri-a  ad  |  ip-sa  tre  men-tern 
De-se-rue-re  omnes  defes-s1  et  |  cor-po-ra  |  sal-tli 
At-que  u-bi  |  jam  pa-trijae  per|ven-tum  ad  |  li-mi-na  |  se-dis 
Oiinc-ta  pater  ia;to-que  ur'gen-t1  incum-be-re     vel-let 
In-serjta-bam  ap  tans  me|que  ex-tra  |  tec-ta  fe  re-bam 
Er-g°  a-ge  |  ca-re  pater  cer'vi-c   impo-ne-re  |  nos-trae 
Me  bel|P  e  tanto  di|gres-sum  et  |  cae-de  rejcen-tl 
Om-ni-bus  |  i-dem  a-ni|mus  sce-le^ra-t^  ex  ce-de-re  |  ter-ra 
Mons  cir|cum  et  mugi-re  a-dytis  corti-na  re|clu-sis 

II.    Two  Conflicts. 

Sor-te  tulit  Tro]jam  in-censam  et  prolap-sa  viden-tem 

Nus-quara  a-be|r°  et  til  turn  pa-tri  o  te  |  li-mi-ne  |  sis-tarn 

Turn  vejr°  om-ne  mi|hi  visum  consi-de-re  in  |  Ig-nis 

De-scen  d5  ac  du  cen-te  deio  flam'mam  in-ter  et  I  hos-tis 
i  i  i  i  i 

Te-la  ne  que  ad-ver  so  glo-mejra-t    ex  |  ag-mi-ne  |  Gra-I 
Sus-pen|sum  et  pa-rijter  co-mi|ti-que  o-ne|ri-que  ti  men-tem 
Ip-se  urbem  re-pe|t°  et  cingor  ful  gen-ti-bus  |  ar-mis 
Qua  gres(sum  ex-tu-leram  re-pe|t6  et  ve^sti-gi-a  |  ret-ro 

III.    Three  Conflicts. 

In-cumjbens  a|rae  at-que  urn, bra  com|plex-a  Pe[na-tis 
Oon-den|sae  et  dtvom  am-plex|ae  si-mula-cra  se  de-bant 
Ec-ce  au|tem  e-lap!sus  Pyrrhi  de  |  cae-de  Poli-tes 
Oon-ge-ri^ur  pu-ejr1  et  pa-vi|dae  long5  or-di-ne  |  ma-tres 


20  Verses  for  Practice. 

TV.    Four  Conflicts. 

Con-fii|sam  e-ri-pu|it  mensem.     Nam|quc  a-vi-a  |  cur-su 

D.     THREE   ELISIONS. 

Verses  of  this  type  are  rare.     Examples  are  : 

E-ru-ere  ag-ri-colae  cer|ta-tim  il|la  us-que  miha-tur 
Pro-mils1  ul-tojrem  et  verjbis  o-di|a  as-pe-ra  |  mo-vi 
Na-tum  an|te  o-ra  pa|tris  pat|rem  qu1  objtrun-cat  ad  |  a-ras 
Ves-trum  hoc  |  au-gu-rium  veS|tro-que  in  |  nti-mi-ne  |  Tro-ja  est 
Me  re-fer5  ir-ru-e|rant  Da-na1  et  tec|tum  om-ne  te|ne-bant 

E.     SPONDAIC  VERSES.1 

Ar-ma|tum-que  au|ro  cir|cum-spi-cit  |  0-ri'jO-na 

Oa-ra  de  um  su-boles,  mag^num  Jo-vis  |  in-cre| men-turn 

Oor-nu-a  I  ve-lata-rum  obver-ti-mus  I  an-temna-rum 

i  iii 

Prox-i-mus  |  huic  lon'go  sed  j  prox-i-mus  |  in-terjval-lo 

Quae  ca-put  |  a  cae|li  re-gi|o-ni-bus  |  os-ten| de-bat 

In-vl'tum  qui  |  ser-vat,  i|dem  fa-cit  |  oc-ci|den-ti 

Oon-sti-tit  |  at-que  o-cu|lis  Phry-gi-a  |  ag-mi-na  |  cir-cum|spex-it 

Aut  levis  o-creas  len|to  dujcunt  ar'gen-to 

Quae  quon|dam  in  biis|tls  aut  |  cul-mi-ni  bus  dejser-tls 

In  val|lem  E-ge-ri|ae  de|scen-di-mus  |  et  spelun-cas 

Oum  pa-tri  bus  po-pu!lo-que  peha-ti-bus  [  et  magnis  dis 

1  Spondaic  verses  more  commonly  end  with  a  quadrisyllabic  word, 
as  illustrated  in  the  first  seven  examples.  The  last  four  verses  exem- 
plify other  methods  of  terminating  the  line. 


Verses  Ending  in  a  Monosyllable.  21 

F.     SYNIZESIS. 

An-tehac  |  ad  ni|lum  pe-nitns  res  |  quae-que  rejdis-sent 
In-film-t1  ae|tas  an|teac-ti  |  tem-po-ris  |  om-nis 
Dein-de  quod  |  ob-scu|ra  de  |  re  tarn  |  lu-ci-da  |  pan-go 
He-re  |des  vo-ln|it.     Quoad  |  vix-it  |  cre-di-dit  |  in-gens 
Eu-rum  ad  |  se  Ze-phy[rum-que  vo|cat,  de-hinc  |  ta-li-a  |  fa-tur 
Ta-li-bus  |  I-li-o|nei  dic|tis  de|fix-a  La|ti-nus 
De-tur|bat  lax|at-que  fo|ros  si-mul  |  ac-ci-pit  |  al-veo 
Au-rea  |  com-po-su|it  spon  da  me-di|am-que  lojca-vit 
Hoc  sat  e|rit.     Scio  |  me  Da-na|is  e  |  clas-si-bus  J  ii-num 
Os-cu-la  I  li-balvit  naltae  dehinc  I  ta-li-a  I  fa-tur 


G.  VERSES  ENDING  IN  A  MONOSYLLABLE.! 

Ae-o-le  |  nam-que  ti|bi  di|vum  pa-ter  |  at-que  ho-mi|num  rex 
Ex-plo|ra-re  la|bor,  mi-hi  |  jus-sa  ca|pes-se-re  |  fas  est 
Di  ti-bi  I  si  qua  pi|os  res|pec-tant  |  nu-mi-na  |  si  quid 
Pal-la-dis  |  aux-i-li|is  sem|per  ste-tit.       Im-pi-us  |  ex  quo 
Par-tu-ri|unt  mon|tes,  nas|ce-tur  |  n-di-cu|lus  mus 
In  som|nis>  mul|to  ma-ni|fes-ti  |  lu-mi-ne,     qua  se 
Aus-pi-ci|is  ma-ni|fes-ta  fijdes  :   sic  |!  fa-ta  de|um  rex 
Li-to-re|is  in|gens  in|ven-ta  sub  |  i-li-ci|bus  sus 
Mas-sy|li-que  ru|unt  e-qui|tes  et  o|do-ra  canum  vis 
Dar-da-ni|um-que  dujcem  Ty-ri|a  Oar|tha-gi-ne  |  qui  nunc 

1  Verses  ending  in  a  monosyllable  are  relatively  rare  in  dactylic 
poetry.  Their  metrical  quality  is  peculiar,  and  somewhat  difficult  of 
apprehension  until  the  ear  is  thoroughly  trained. 


22  Verses  for  Practice. 

H.     WORDS  IN  WHICH  i  AND   u  BECOME  j  AND   v. 

Hae-rent     par-je-tijbus  scajlae  pos  tis-que  sub  |  ip-sos 
Cus-to  des  suf  |fer-re  va  lent ;  la-bat  |  ar-je-te  |  cre-bro 
Ae-di-fi  cant  sec^a-qu6  injtex-unt  |  ab-je-te  |  cos-tas 
Bis  pa-tri  ae  ce-ci|de-re  mantis.     Quin     pro-ti-nus     om-nja 
Prae-fe-ri  nius  ma-nibus  vittas  ac  |  ver-ba  precan-tja 
Gen-va  la  bant,  vastos  qua-tit  |  ae-ger  an:he-li-tus  ||  ar-tiis 
Ten-vi-a  |  nee  lajnae  per  |  cae-lum  |  vel-le-ra  |  fer-ri 
Nam  quae  ||  ten-vi-a  |  sunt  his|cen-dlst  |  niil-la  po|tes-tas 
Fluv-jorum  rex  (  E-ri-danus  cam|pos-que  per  |  om-nes 
Sem-ja-ni  mem-que  si  nti  ger|ma-nam  amjplex-a  fojve-bat 
Fa-ma  est  |  En-ce-lajdl  sem|jus-tum  j  ful-mi-ne  |  cor-pus 

I.     SYSTOLE    AND   DIASTOLE. 

a.   Systole.1 

Ob-sti-pui  ste-te|runt-que  comae  et  vox  |  fau-ci-bus     hae-sit 

Oon-sti-te  runt,  sil  va  al-ta  Jo|vis  lucus-ve  Di!a-nae 

Tor-se-rit  |  in  Ku-tulos,  ste-tejrunt  quae  in  |  cor-po-re  j  Gra-jum 

b.    Diastole.2 

Ltic-tus  u  bi-que  pa|vor  et  |  plu-ri-ma  j  mor-tis  i|ma-go 
Os-ten tans  ar tem-que  pater  ar|cum-que  sonan-tem 

1  This  is  the  employment  as  short  of  a  syllable  usually  long. 

2  This  is  the  employment  as  long  of  a  syllable  usually  short. 

Systole  and  Diastole  are  not  mere  arbitrary  processes.  They  fre- 
quently represent  an  earlier  pronunciation  which  had  passed  out  of 
vogue  in  the  ordinary  speech.  This  is  true  in  all  the  examples  given 
except  the  last  three  under  b. 


Miscellaneous  Peculiarities.  28 

Hus-quam  a|mit-te:bat  o-cu|los-que  sub  |  as-tra  te|ne-bat 
Per-ga-ma  ]  cum  pe-teret  in  con-ces!sos-que  hy-me|nae-os 
Qui  te-ne|ant  (nam  injcul-ta  vijdet)  ho-mijnes-ne  fe|rae-ne 
Pec-to-rijbus  in-hi,ans  spl|ran-ti-a  |  con-su-lit  |  ex-ta 
Non  te  j  nul-lius  ex|er-cent  |  nu-mi-nis  |  I-rae 
Li-to-ra  |  jac-te|tur  o-di|Is  Jilno-nis  a|cer-bae 

J.     HYPERMETER  VERSES. 

Jac-te|mur  do-ce  as  ;  igjna-r    ho-mijnum-que  lo'co-rum  |  que^ 

Er-rajmus. 

Ae-re-a  |  cui  gra-di|bus  sur  ge-bant  |  li-mi-na  |  nex-ae  |  que^ 

Aere. 

Et  magnos  mem|bro-rum  ar|tus,  mag|na  os-sa  la'cer-tos  que^ 

Ex-u-it. 

Aut  dul  cis  musjti  Vol;ca-no     de-co-quit  |  u-mo|rem^ 

Et. 

K.     MISCELLANEOUS   PECULIARITIES. 

1.  When  -que  .  .  .  que  occurs,  the  first  -que  not  infre- 
quently makes  a  long  syllable  ;  e.g., 

Spi-cu-laque1  cli-peji-que  erep-ta-que  |  ros-tra  cari-nls 
Bron-tesque1  Ste-ro|pes-que  et  |  nu-dus  |  mem-bra  Palae-mon 

1  In  nearly  all  cases  where  this  lengthening  occurs,  the  following 
word  begins  with  two  consonants.  It  is,  therefore,  probable  that  one 
of  the  consonants  was  joined  in  pronunciation  with  the  e  of  -que, 
thus  making  a  closed  {i.e.  long)  syllable ;  thus, 

Spi-cu-la  |  quec-li-pe  |  I-que 
Bron-tes!queS-te-ro|pes-que. 

By  this  theory,  of  course,  the  quantity  of  the  vowel  was  not  changed. 


24  Verses  for  Practice. 

2.  Hiatus  occurs  with  some  frequency  ;  e.g., 

Post-ha-bi|ta  co-lujis-se  Sa|mo ;   hie  |  il-li-us  |  ar-ma 
Ne-re-idum  majtri  et  |  Nep-tuino  Ae^gae-o 
Tu-ne  ille  Ae-n^as,  quern  j  Dar-da-nijo  An^chl-sae 
Oon-ci-lia  E-ly-si  uni-que  co|lo.     Hue  j  cas-ta  Si|byl-la 
La-men!tis  ge-mijtii-qu6  et  |  fe-mi-ne|o  u-lu|la-tu 

3.  A  long  final  vowel  or  a  final  diphthong  is  sometimes 
shortened  (instead  of  being  elided)  before  a  following 
vowel.     This  is  called  semi-hiatus  ;  e.g., 

In-su-lae     I-o-ni|°  in  magjno  quas  |  dl-ra  Oejlae-no 
Vic-tor  a|pud  ra-pi|dum  Si-mojen-ta  sub  |  I-li-o  |  al-to 
No-men  et  |  ar-ma  lo|cum  servant :  te  a ml-ce  ne|qui-vi 

1  These  two  verses  are  also  spondaic  lines. 


PART   II. 

LYRIC    METRES. 


§  1.     INTRODUCTORY. 

The  various  lyric  metres  employed  by  the  Latin  poets 
are,  like  the  dactylic  hexameter,  imitated  from  the  lyric 
metres  of  the  Greeks.  Greek  lyric  poetry,  as  its  name 
implies,  was  primarily  written  for  musical  performance, 
i.e.  for  singing  to  the  accompaniment  of  the  lyre.  There- 
fore, in  the  rendition  of  such  poetry,  the  utterance  of  the 
words  naturally  conformed  to  the  musical  tempo.  It 
accordingly  not  infrequently  happened  that  the  normal 
quantity  of  the  syllables  was  either  shortened  or  length- 
ened in  order  to  secure  such  conformity.  The  perform- 
ance of  Greek  lyric  poetry,  in  other  words,  was  entirely 
analogous  to  the  performance  of  a  modern  song,  in  which 
a  single  syllable  often  extends  in  time  over  an  entire 
measure,  or  even  more.1 

Now,  there  is  nothing  to  show  that  the  Roman  poets, 
in  borrowing  the  lyric  measures  of  the  Greeks,  employed 
them  for  the  composition  of  poetry  which  icas  intended  to 
be  sung  to  a  musical  accompaniment.     In  fact,  everything 

1  Witness,  for  example,  the  opening  measures  of  Gounod's  Ave 
Maria. 

25 


26  Lyric  Metres. 

seems  to  point  the  other  way,  viz.  to  the  fact  that  Roman 
lyric  poetry  was  primarily  intended  for  oral  reading.1 
At  all  events,  for  the  student  the  only  practical  thing  is 
to  read  snch  poetry.  He  cannot  sing  it  to  a  musical 
accompaniment,  and  the  problem  which  confronts  him 
is :  How  to  read  it. 

.Most  of  our  American  grammarians  who  tonch  on 
Latin  prosody  make  Latin  lyric  metres  conform  to  a 
strict  musical  notation.  In  carrying  ont  this  principle, 
they  inculcate  the  frequent  necessity  of  abnormally 
shortening  some  syllables  and  of  abnormally  lengthening 
others,  as  was  above  explained  to  be  the  regular  practice 
in  the  rendition  of  Greek  lyric  poetry. 

Thus,  the  opening  line  of  Horace's  first  ode,  in  accord- 
ance with  the  doctrine  alluded  to,  is  divided  as  follows  : 

Mae-ce|nas  a-tajvis  ||  e-di-te  |  re-gi|bus 

That  is,  the  musical  tempo  of  f-  time  is  assumed  as  the 
basis  of  the  construction  of  this  poem,  and  the  words  are 
supposed  to  be  artificially  adapted  to  that  movement. 
This  is  indicated  by  the  notation  above  printed.  The 
sign  _  >  (the  irrational  spondee)  indicates  a  spondee 
(really  f )  shortened  to  f ;  -^  \j  (the  cyclic  dactyl)  indi- 
cates a  dactyl  (really  f ),  likewise  shortened  to  f ; 2 
l_  is  used  to  indicate  that  the  long  syllable  (ordinarily 

1  The  article  by  Otto  Jahn  in  Hermes,  ii,  Wie  wurden  die  Oden 
des  Horaz  vorgetragen?  does  not  succeed  in  disproving  this. 

2  The  exact  distribution  of  the  syllables  is  often  explained  by  the 
musical  notation     *     fi     m, 

0    0    4 


Introductory.  27 

|)  is  here  equivalent  to  f;  while  the  sign  A  indicates 
a  pause  sufficient  to  prolong  -bus,  the  final  syllable  (equal 
-i-),  to  the  time  of  -§.  That  is,  in  order  in  reading  to 
make  the  verse  conform  to  the  prescribed  musical  nota- 
tion, the  student  is  obliged  in  every  foot  but  one  to 
introduce  an  artificial  pronunciation  at  variance  with  the 
natural  employment  of  the  same  words  in  everyday 
speech.  Were  the  pupil  singing  the  ode  to  musical 
accompaniment,  such  an  artificiality  would  seem  per- 
fectly natural,  since  in  singing  the  text  is  habitually 
made  subordinate  to  the  notes ;  but  that  in  the  reading 
of  Latin  lyric  poetry  there  was  aDy  such  artificial  adap- 
tation to  a  musical  tempo  is  a  priori  inconceivable.  Xo 
such  process  ever  occurs  in  the  poetry  of  any  language. 
The  poet  simply  takes  the  choicer  words  of  familiar 
speech  and  employs  them  in  their  ordinary  equivalence 
with  their  regular  pronunciation.  He  must  do  so,  for 
his  appeal  is  to  the  many,  not  to  a  select  handful  who 
may  have  been  initiated  into  the  secret  trick  of  his 
versification.  In  reading  poetry  in  any  language  the 
reader  gains  sufficient  consciousness  of  the  metrical 
structure  of  the  verse  by  pronouncing  the  words  with 
their  ordinary  everyday  values ;  he  does  not  first  hunt 
up  the  metrical  scheme,  and  in  his  reading  adapt  the 
words  to  the  scheme.  So,  too,  one  would  naturally 
assume,  it  must  have  been  in  Latin. 

^Moreover,  there  is  no  evidence  of  any  kind  which 
intimates  that  the  Romans  did  otherwise.  The  ancient 
grammarians,  in  fact,  who  wrote  extensively  on  the  sub- 
ject of  lyric  poetry,  particularly  on  the  lyric  metres  of 


28  Verses  for  Practice. 

Horace,  so  far  from  suggesting  a  musical  tempo  as  the 
basis  of  lyric  verse,  group  the  syllables  on  entirely 
different  principles. 

It  would  seem  plain,  therefore,  that  the  Latin  lyric 
poets,  in  adopting  the  form  of  Greek  lyric  poetry,  did 
not  also  adopt  the  specifically  musical  tempo  which,  as 
above  explained,  was  inherent  in  the  musical  lyric  poetry 
of  the  Greeks. 

Latin  lyric  poetry,  accordingly,  is  to  be  read  like 
poetry  in  any  language.  The  reader  is  to  pronounce  the 
words  with  accuracy,  following  the  principles  explained 
in  Part  I  of  this  pamphlet.  If  he  does  that,  the  metre 
will  take  care  of  itself,  and  an  ear  already  accustomed  to 
a  correct  quantitative  reading  of  the  dactylic  hexameter 
will  have  no  difficulty  in  at  once  apprehending  the  form 
of  a  Latin  lyric  even  without  the  help  of  a  metrical  key ; 
i.e.  a  correct  pronunciation  of  the  words  in  Latin,  as  in 
English,  itself  reveals  the  metrical  structure  of  the  verse ; 
and  the  student  who  is  curious  to  see  the  verse-scheme 
set  down  in  long  and  short  syllables  c?„n  easily  deduce  the 
scheme  himself,  and  group  the  syllables  into  appropriate 
feet. 

§  2.     VERSES   FOR  PRACTICE. 

A.     SAPPHIC   METRE. 

Horace,  Odes,  i,  2. 
Jam  sa-tis  ter-ris  ni-vis  at-que  dl-rae 
Gran-di-nis  mi-sit  pa-ter  et  ru-ben-te 
Dex-te-ra  sac-ras  ja-cu-la-tus  ar-ces 
Ter-ru-it  ur-bem, 


Sapphic  Metre.  29 

The  pupil  who  correctly  pronounces  the  words  of  this 
stanza  will  apprehend  at  once  that  each  of  the  first  three 
verses  consists  of : 

Trochee,    Spondee,    Dactyl,    Trochee,    Spondee,1 

while  the  fourth  line  will  be  seen  to  consist  of : 

Dactyl,    Spondee,1 

O  KJ    |    is£. 

He  will  therefore  naturally  group  the  words  of  the 
remaining  stanzas  with  reference  to  this  consciousness, 
as  he  goes  on  to  read  the  rest  of  the  poem,  part  of  which 
here  follows : 

Ter-rn|it  gen|tes,  gra-ve  |  ne  re|di-ret 
Sae-cu|lum  Pyr|rhae  no-va  |  mon-stra  |  ques-tae 
Om-ne  |  cum  Pro|teus  pe-cus  |  e-git  |  al-tos 
Vi-se-re  |  mon-tis, 

Pis-ci|um  et  sum|ma  ge-nus  |  hae-sit  |  nl-mo 
No-ta  |  quae  se|des  fu-e|rat  co|lum-bls 
Et  su|per-jec|to  pa-vi|dae  na|ta-runt 
Ae-quo-re  |  dam-mae. 

Vi-di|mus  flajvom  Ti-be|rim  re|tor-tis 
Li-to|re  Et-ru|sco  vi-o  len-ter  |  un-dis 
I-re  |  de-jec|tum  mo-nu|meii-ta  |  re-gis 
Tem-pla-que  |  Ves-tae. 

1  The  final  syllable  of  a  verse  is,  of  course,  either  long  or  short,  so 
that  a  trochee  may  alternate  with  the  spondee  in  the  last  foot. 


30  Verses  for  Practice. 

Au-di|et  ci|vis  a-cu|is-se  |  fer-rum 
Quo  gra|ves  Per|sae  me-liiis  pe|ri-rent 
Au-di|et  ptig|nas  vi-ti|o  pa|ren-tum 
Ea-ra  ju|ven-tus. 

Quem  vo|cet  di|vom  po-pu|lus  ru|en-tis 
Im-pe|ri  re|bus  ?     Pre-ce     qua  fa|ti-gent 
Vir-gi|nes  sanc|tae  mi-nus  |  au-di|en-tem 
Oar-mi-na  I  Ves-tam  ? 


Oui  da | bit  par|tis  sce-lus  |  ex-pi  |an-di 
Jup-pi|ter  ?     Tan|dem  ve-ni|as  pre|ca-mur, 
Nu-be  |  can-den|tis  u-me|ros  a|mic-tus, 
Au-gur  A|pol-lo ; 

Si-ve  I  tu  ma|vis,  E-ry|ci-na  |  ri-dens, 
Quam  Jo|cus  cir|cum  vo-lat  |  et  Ou|pi-do 
Si-ve  I  neg-lec|tum  ge-nus  ||  et  nejpo-tes 
Kes-pi-cis  |  auc-tor? 

Heu  ni'mis  lon'go  sa-ti|a-te  |  lti-do, 
Quern  jujvat  cla|mor  ga-le|ae-que  |  le-ves 
A-cer  I  et  Mar|si  pe-di|tis  cru|en-tum 
Vol-tus  in  |  hos-tem ; 

Si-ve  |  mu-ta|ta  ju-ve|nem  fi|gu-ra 
A-les  |  in  ter|ris  i-mi|ta-ris  |  al-mae 
Fi-li|us  Ma|jae7  pa-ti|ens  vo|ca-ri 
Oae-sa-ris  I  ul-tor, 


Phalaecian  or  Hendecasyllabic.  31 

-rus  |  in  caejlum  re-deas  di|u-que 
Lae-tus  |  in-ter|sis  po-pu|lo  Qui|ri-ni? 
Ne-ve  |  te  nos|tns  vi-ti|is  i|ni-quom 
O-ci-or  |  au-ra 

Tol-lat ;     hie  magjnos  po-ti|us  tri|um-phos, 
Hie  a|mes  di|ci  pa-ter  |  at-que  |  prln-ceps, 
Neu  si|nas  Me|dos  e-qui|ta-re  in|ul-tos 
Te  du-ce  |  Oae-sar. 

B.     PHALAECIAN  OR   HENDECASYLLABIC. 

Martial,  vi,  82. 

Qui-dam  me  mo-do  Eti-fe  dl-li-gen-ter 
In-spec-tum  ve-lut  emp-tor  ant  la-nis-ta 
Cum  vul-tti  di-gi-to-que  sub-no-tas-set. 

A  few  lines  of  this,  properly  read,  are  sufficient  to 
reveal  to  the  pupil  that  each  verse  consists  of: 

Spondee,1  Dactyl,  Trochee,   Trochee,    Spondee. 

Impressed  with  this  consciousness,  the  pupil  .will  then 
go  on  to  read  the  remaining  verses  of  the  poem  in  the 
light  of  this  observation,  as  follows : 

<Tu-ne  es,  |  tu-ne?  a-it  |  'il-le  |  Mar-tija-lis, 
Oii-jus  |  ne-qui-ti|as  jo|cos-que  |  no-vit 
Au-rem  |  qui  mo-do  |  non  ha|bet  Bo|o-tam?? 
Sub-ri|si  mo-di|ce,  le|vl-que  |  nti-tu 

1  Sometimes  the  first  foot  takes  the  form  u  _. 


32  Verses  for  Practice. 

Me  quern  |  dix-e-rat  |  es-se  |  non  ne|ga-vl. 
tf Our  erjgV  in-quit,  'kabes  ma|las  lalcer-nas?' 
Kes-ponjdi,  i  qui-a  |  sum  ma|lus  po  e-ta. 
Hoc  ne  |  sae-pi-us  |  ac-ci|dat  poje-tae, 
Mit-tas  ||  Ku-fe  mi|hi  bo|nas  la|cer-nas.' 

Martial,  x,  19. 

Nee  docjtum  sa-tis  |  et  pa|rum  se|ve-rum, 
Sed  non  |  rus-ti-cu|lum  ni|mis  li|bel-luni 
Fa-cunjdo  me-a  |  Pli-ni  o  Tha|li-a, 
I  per  fer :  bre-vis  |  est  la|bor  perjac-tae 
Al-tum  I  vin-ce-re  |  tra-mi|tem  Su|bu-rae. 
Il-lic  |  Or-phe-a  |  pro-ti|nus  vijde-bis 
U-di     ver-ti-ce     lu-bri|cum  the|a-tri, 
Mi-ran  tes-que  fe|ras  a|vem-que  |  re-gis, 
Kap-tum  J  quae  Phry-ga  |  per-tu|lit  To|nan-ti. 
Il-lic  |  par-va  tu|l  do|mus  Pejdo-nis 
Oae-la|ta  est  a-qui|lae  mijno-re  |  pin-na. 
Sed  ne  ||  tem-po-re  |  non  tu|o  di|ser-tam 
Pul-ses  I  e-bri-a  |  ja-nu|am  vijde-to. 
To-tos  |  dat  te-tri|cae  di|es  Mi  ner-vae, 
Dum  cen|tum  stu-det  |  au-ri|bus  vi|ro-rum 
Hoc  quod  |  sae-cu-la  |  pos-te|rI-que  |  pos-sint 
Ar-pinls  quo-que  |  com-paira-re  ||  char-tls. 
Se-ras  |  tu-ti-or  |  I-bis  |  ad  lu|cer-nas. 
Haec  hojra  est  tu-a,     cum  fujrit  Ly|ae-us, 
Cum  regjnat  ro-sa,  |  cum  majdent  ca'pil-li : 
Tunc  me     vel  ri-gidi  le|gant  Oa  to-nes. 


First  Asclepiadean.  33 

C.     FIRST  ASCLEPIADEAN.* 

Horace,  Odes,  i,  1. 

Mae-ce-nas  a-ta-vis  e-di-te  re-gi-bus, 
0  et  prae-si-di-um  et  dnl-ce  de-cus  me-um : 
Sunt  quos  cur-ri-cu-lo  pul-ve-rem  O-lym-pi-cum 
Col-le-gis-se  ju-vat  me-ta-que  fer-vi-dis 

The  pupil  will  at  once  see  that  the  scheme  of  this 
verse  is  : 

—  —  w   w  w   w  w  ±L- 

By  those  who  reject  the  strictly  musical  notation  the 
feet  are  grouped  as  follows  : 

—  I  ww   I  ||  ww|  w       ^} 

i.e.    Spondee,   Dactyl,   Long  Syllable,    Dactyl,  Trochee, 

Long  Syllable. 

This  grouping,  however,  is  not  necessary,  and  the 
ancients  felt  the  line  as : 

|    WW   I    w    w  I    w  ^« 

The  remainder  of  the  ode  follows : 

E-vijta-ta  rojtis  ||  pal-ma-que  |  no-bi|lis 
Ter-ra|rum  do-mi|nos  ||  e-ve-hit  |  ad  dejos 
Hunc,  si  I  mo-bi-li'um     tur-ba  Qui  ri-tilum 

"I  i  II  X  |  i 

Oer-tat  |  ter-ge-mi|nls  ||  tol-le-re  hojno-ri|bus ; 

1  The  names,  "  First,"  "  Second,"  "  Third  Asclepiadean,"  are  some- 
times differently  applied.  The  nomenclature  here  followed  is  that  of 
Lucian  Miiller. 


34  Verses  for  Practice. 

Il-lum  |  si  pro-prio  ||  con-di-dit  |  hor-re|6 
Quid-quid  |  de  Ly-bijcls  ||  ver-ri-tur  |  a-re|ls. 
Gau-denjtem  pa-tri|os  ||  fin-de-re  |  sar-cu|lo 
Ag-ros  |  At-ta-li|cls  ||  con-di-c^o-nilbus 
Num-quam  |  de-mo-ve|as,  ||  ut  tra-be  |  Oyp-ri|a 
Myr-tojum  pa-vi|dus  ||  nau-ta  se|cet  ma|re. 
Luc-tan|tem  I-ca-ri|is  ||  fluc-ti-bus  |  A-fri!cum 
Mer-ca|tor  me-tu|ens  ||  o-ti-um  et  |  op-pi|di 
Lau-dat  |  ru-ra  su|i ;  ||  mox  re-fi|cit  ra|tes 
Quas-sas,  |  in-do-cijlis  ||  pau-pe-ri|em  pa|ti. 
Est  qui  J  nee  ve-te|ris  ||  po-cu-la  |  Mas-si|ci 
Nee  par|tem  so-li|do  ||  de-me-re  |  de  di|e 
Sper-nit,  |  nunc  vi-ridi  ||  mem-bra  sub  |  ar-bu|to 
Stra-tus  |  nunc  ad  a|quae  ||  le-ne  ca|put  sa|crae. 
Mul-tos  |  cas-tra  ju|vant  ||  et  li-tu|o  tu|bae 
Per-mix;tus  so-ni|tus  ||  bel-la-que     ma-tri|bus 
De-tes|ta-ta.     Majnet  ||  sub  Jo-ve  |  fri-gi|do 
Ve-na|tor  te-ne|rae  ||  con-ju-gis  |  im-me|mor 
Seu  vi|sast  ca-tu|lis  ||  cer-va  fi|de-li|bus, 
Seu  ru|pit  te-re  tes  ||  Mar-sus  a|per  pla|gas. 
Me  doc  ta-rum  he-de|rae  ||  prae-mi-a  |  fron-ti|um 
Dls  miscent  su-pe|iis?  ||  me  ge-li|dum  ne|mus 
Nym-pha^um-que  le|ves  ||  cum  Sa-ty|rls  cho|ri 
Se-cerjnunt  po-pu|lo,  ||  si  ne-que  |  tl-bi|as 
Eu-ter  pe  co-hi|bet  ||  nee  Po-ly|hym-ni|a 
Les-bojum  re-fu'git  ||  ten-de-re  |  bar-bi|ton. 
Quod  si     me  ly-ri|cls  ||  va-ti-bus  |  in-se|ris, 
Sub-ll  ml  fe-ri  am  II  si-de-ra  I  ver-ti-ce. 


Second  Asclepiadean. 


35 


D.     SECOND   ASCLEPIADEAN. 
Horace,  Odes,  i,  3. 
Sic  te  di-va  po-tens  Cy-pri 

Sic  fra-tres  He-le-nae,  lti-ci-da  sl-de-ra, 
Ven-to-rum-que  re-gat  pa-ter 

Ob-stric-tis  a-li-is  prae-ter  I-a-py-ga. 

The  pupil  at  once  sees  that  the  even  lines  are  identical 
with  the  First  Asclepiadean  metre  (C,  above),  while  the 
odd  lines  have  the  scheme : 

The  balance  of  the  ode  follows : 

Na-vis  |  quae  ti-bi  |  cre-di|tum 

De-bes     Ver-gi-li;um,  ||  fl-ni-bus  |  At-ti|cis 
Ked-das  |  in-co-ln]mem  prejcor 

Et  ser|ves  a-ni|mae  ||  dl-mi-dijurn  me|ae. 
Il-li  |  ro-bur  et  |  aes  tri|plex 

Oir-ca  |  pec-tus  e|rat,  ||  qui  fra-gi  lem  tru(ci 
Com-mi|sit  pe-la|go  rajtem 

Pri-mus  |  nee  ti-mu|it  ||  prae-ci-pi|tem  A-frijcum 
De-cer]tan-tem  A-qui;lo-ni|bus 

Nee  trisjtis  Hy-ajdas  ||  nee  ra-bi|em  No|ti, 
Quo  non  |  ar-bi-ter  |  Had-ri|ae 

Ma-jor,  |  tol-le-re  |  seu  ||  po-ne-re  |  volt  fre|ta. 
Quern  mor|tis  ti-mu;it  gra|dum, 

Qui  sic|cis  o-cu|lis  ||  mon-stra  na|tan-ti|a, 
Qui  vijdit  ma-re  |  tur-bi|dum  et 

In-fa]mis  sco-pu|los  ||  Ac-ro-ce|rau-nija? 


36  Verses  for  Practice. 

Ne-qui]quam  de-us  [  ab-sci|dit 

Prii-dens     0-ce-a|no  ||  dis-so-cija-bi|li 
Ter-ras,     si  ta-men  |  im-pi|ae 

Non  tan|gen-da  ra|tes  ||  tran-si-li|unt  va|da. 
Au-dax  I  om-ni-a  |  per-pejti 

Gens  hujma-na  rujit  ||  per  ve-ti|tum  ne|fas. 
Au-dax  I  I-a-pe|ti  genus 

Ig-nem  |  frau-de  majla  ||  gen-ti-bus  |  in-tu|lit. 
Post  Ig'nem  ae-the-ri|a  do|mo 

Sub-duc|tum  ma-ci|es  ||  et  no-va  j  feb-ri|um 
Ter-ris  |  in-cu-bu|it  cojhors, 

Se-mo|ti-que  pri|us  ||  tar-da  ne|ces-sijtas 
Le-ti  j  cor-ri-pu|it  gra|dum. 

Ex-per|tus  va-cu|om  ||  Dae-da-lus  |  a-e|ra 
Pen-nis  |  non  ho-mijnl  da|tis  ; 

Per-m|pit  A-che|ronta  ||  Her-cu-le|us  la|bor. 
Nil  mor|ta-li-bus  |  ar-du-1  ||  est ; 

Oae-lum  ip|sum  pe-ti|mus  ||  stul-ti-ti|a?  nejque 
Per  nos|trum  pa-ti|mur  sceilus 

I-ra|cun-da  Jo|vem  ||  po-ne-re  j  ful-rnijna. 

E.     THIRD   ASCLEPIADEAN. 

Horace,  Odes,  i,  15. 

Pas-tor  cum  tra-he-ret  per  fre-ta  na-vi-bus 
I-dae-Is  He-le-nen  per-fi-dus  hos-pi-tam, 
In-gra-to  ce-le-res  ob-ru-it  o-ti-o 
Ven-tos  ut  ca-ne-ret  fe-ra. 


Third  Asclepiadean. 


37 


The  pupil  at  once  sees  that  the  first  three  verses  of 
the  stanza  are  identical  with  the  First  Asclepiadean, 


\j  \j 


\tj  w 


^     ^ ; 


while  the  concluding  line  is  identical  with  the  odd  lines 
of  the  Second  Asclepiadean, 


\j    \J        \J        ±L 


The  remainder  of  the  ode  follows  : 


Ne-reus  ||  fa-ta :   l  Ma|la  |   du-cis  ajvi  dojmum 
Quam  mul|to  re-pejtet  ||  Grae-ci-a  |  mi-li[te 
Con-ju|ra-ta  tu]as  ||  mm-pe-re  |  nup-tijas 
Et  reg|num  Pri-ajmi  vejtus. 

Heu  heu,     quan-tus  ejquis,  ||  quan-tus  a|dest  vijris 
Su-dor !       Quan-ta  mojves  ||  fu-ne-ra  |  Dar-da|nae 
Gen-ti !     Jam  ga-le|am  ||  Pal-las  et  |  ae-g^da 
Cur-rus'que  et  ra-bi|em  pa|rat. 

Ne-qui|quam  Ve-ne|ris  ||  prae-si-dijo  fe|rox 
Pec-tes  I  cae-sa-ri|em  |   gra-ta-que  |  fe-mi  nis 
Im-bel|ll  ci-tha|ra  ||  car-mi-na  |  di-vijdes  ; 
Ne-qutquam  tha-la|mo  gra|vis 

Has-tas  |  et  ca-la|mi  ||  spl-cu-la  |  Gno-si|i 
Vl-ta|bis  stre-pi|tum||que  et  ce-le|rem  sejqui 
A-ia'cem  :  ta-men,  I  heu,      se-rus  aldul-te'ros 
Crl-ms  |  pul-ve-re  [  col-li!nes, 


38  Verses  for  Practice. 

Non  Lajer-ti-a^en,  ||  ex-i-ti;um  tuae 
Gen-tis,  |  non  Py-li!um  ||  Nes-to-ra  |  res-pi|cis 
Ur-gent  |  im-pa-vijdi  ||  te  Sa-la|mi-ni|iis 
Teu-cer,  |  te  Sthe-nelus  sci|ens 

Pug-nae,  |  sl-ve  o-pus  est  ||  im-pe-rijta-re  ejqnis, 

Non  aujri-ga  pi|ger.  ||  Me-ri-ojnen  quojque 

Nos-ces.       Ec-ce  fn|rit  ||  te  re-peri-re  a|trox 

Ty-dijdes,  me-li|or  pa|tre, 


ra 
mor 


Quern  tu?  |  cer-vus  u|ti  |  val-lis  in  |  al-te 
Vl-sum  [  par-te  lu|pum  ||  gra-mi-nis  ||  im-me 
Sub-lijmi  fu-gijes  ||  mol-lis  an  he-li|tu? 
Non  hoc  |  pol-li-ci|tus  tu|ae. 

I-racun-da  di|em  ||  pro-fe-ret  |  I-li|o 
Ma-tro|nis-que  Phryjgum  ||  clas-sis  A|chil-le]i : 
Post  ceritas  hi-e;mes  ||  u-ret  Ajcha-ijcus 
Ig-nis  I  Per-ga-me|as  do-mos.' 

F.     FOURTH  ASCLEPIADEAN. 
Horace,  Odes,  i,  14. 

0  na-vis,  re-fe-rent  in  ma-re  te  no-vi 
Fluo-tus  !     0  quid  a-gis  ?     For-ti-ter  oc-cu-pa 
Por-tum  !     Non-ne  vi-des  ut 
Nu-dum  re-mi-gi-o  la-tus 

The  pupil  at  once  sees  that  the  first  two  verses  of  this 
stanza  are  identical  with  the  First  Asclepiadean, 


Fourth  Asclepiadean.  39 

|_w^|_||_v-/w|_^i^; 

that  the  third  verse  has  the  scheme 

_  kj  kj  I  _  ^  ; 


while  the  fourth  verse  is  identical  with  the  odd  lines  of 
the  Second  Asclepiadean, 

The  remainder  of  the  ode  follows : 


Et  mams  ce-lejri  |   sau-ci-us  |  A-fri  co 
An-tem|nae-que  gejmant  |  ac  si-ne  |  fu-nijbus 


Vix  du  Ira-re  ca 


ri-nae 


Pos-sint  |  im-pe-ri|o-si|us 

Ae-quor?      Non  ti-bi  |  sunt  ||  in-te-gra  |  lin-te|a, 
Non  di,  J  quos  i-te|rum  ||  pres-sa  vo|ces  ma|lo. 
Quam-vis  |  Pon-ti-ca  |  pl-nus, 
Sil-vae  |  fi-H-a  |  no-bilis, 

Jac-tes  I  et  ge-nus  |  et  ||  no-men  i|nn-ti|le, 
Nil  piCjtls  ti-mi|dus  ||  na-vi-ta  |  pup-pijbus 
Fi-dit.       Tu  ni-si  |  ven-tis 

De-bes  |  lu-di-brilum,  ca|ve. 

Nti-per  I  sol-li-cijtum  ||  quae  mi-hi  |  tae-di|um, 
Nunc  de|si-de-rijum  ||  cu-ra-que  |  non  le|vis, 
In-terjfu-sa  niten-tis 

Vi-tes  I  ae-quo-ra  |  Oyc-la|das. 


40  Verses  for  Practice. 

G.     ALCAIC. 

Horace,  Odes,  i,  9. 

Vi-des  nt  al-ta  stet  ni-ve  can-di-dnm 
So-rac-te,  nee  jam  sus-ti-ne-ant  o-nus 
Sil-vae  la-bo-ran-tes  ge-lu-que 

riu-mi-na  con-sti-te-rint  a-cu-to. 

This  metre  is  more  complex  than  any  of  those  yet 

examined,  but  is  easily  seen  to  conform  to  the  following 

scheme  : 

w  |_w| I  _  kj  \j  | kj  |  ^      (twice) 


WW      U   V        \J        w. 


The  balance  of  the  ode  follows  : 

Dis'sol-ve  I  frl-gus  J  lig-na  sniper  fo|co 
Larlge  re|po-nens,  |  at-qne  be|nlg-ni|ns 
D^pro-me  |  qnad-rijmnm  Sabi-na, 
0  Tha-li  ar-che,  mernm  dijo-ta. 

Per  mit-te  |  di-vis     ce-te-ra  |  qni  silmnl 
Stra|ve-re  |  ven-tos  |  ae-qno-re  |  fer-vijdos 
Dejproe-li  an-tis,  |  nee  cn'pres-si 

Nee  ve-te|res  a-gi,tan-tur  |  or-ni. 

Qnid  I  sit  fnltu-rum  j  eras  fn-ge  |  qnae-re'rc,  et 
Qnem  |  fors  dije-rnm  |  enm-que  da|bit  hi|cro 
Ap|po-ne,  |  nee  dul,cis  a|mo-res 

Sper-ne  pn  er  ne-qne  |  tu  cho  re-as, 


Alcaic. 

Do  nee  vi|ren-ti  |  ca-ni-ti|es  a|best 
Mojro-sa.      Nunc  et  |  cam-pus  et  |  a-re|ae 
Lejnes-que  |  sub  noc|tem  su|sur-ri 

Com-po-si|ta  re-pe|tan-tur     ho-ra ; 

Nunc  |  et  la |ten-tis  |  pro-di-tor  |  in-tijmo 
6ra|tus  pu|el-lae  |  ri-sus  ab  |  an-gu|lo 
Pig|nus-que  |  de-rep  j  turn  la|cer-tis 
Aut  di-gi|to  ma-le  |  per-tina-cl. 

Horace,  Odes,  i,  17. 

Nunc  |[  est  bi|ben-dum  |  nunc  pe-de  ||  li-be|ro 
Pul|san-da  |  tel-lus,  |  nunc  Sa-li|a-ri|bus 
Orjna-re  |  pul-vljnar  de|o-rum 

Tem-pus  erat  da-pijbus,  soda-les. 

Anjtehac  ne|fas  de |pro-me-re  |  Cae-cubum 
Cel|lis  a|vi-tis,  |  dum  Ca-pi|to-li|o 
Kejgi-na  |  de-men  'tis  ru|i-nas 

Fu-nus  et  |  im-pe-ri|o  para-bat 

Oon'ta-mi|na-to  ||  cum  gre-ge  |  tur-pi|um 
Mor|bo  vi|ro-rum,     quid-li-bet  |  im-po|tens 
Spe ra-re  |  for-tuna-que  |  dul-ci 

E-bri-a.       Sed  mi-nu|it  fu|ro-rem 

Vix  |  ti-na  |  sos-pes  |  na-vis  ab  |  Ig-nijbus, 
Menjtem-que  |  lym-pha|tam  Ma-re|o-ti|co 
Ee| de-git  |  in  ve|ros  ti  mo-res 

Cae-sar,  ab  |  I-ta-li|a  vojlan-tem 


41 


42  Verses  for  Practice. 

Kejmis  a|dur-gens,  |  ac-ci-pi|ter  ve|lut 
Moljlis  co|lum-bas  |  aut  le-po|rem  ci|tus 
Ve|na-tor  |  in  cam|pis  niva-lis 

Hae-mo-nijae,  da-ret  |  ut  ca|te-nis 

Fa|ta-le  |  mon-strum.      Quae  ge-ne|ro-sijus 
Pe|ri-re  |  quae-rens  ||  nee  mu-li|eb-ri|ter 
Exjpa-vit  |  en-sem  |  nee  la]ten-tls 
Olas-se  ci|ta  re-pa|ra-vit  |  o-ras  ; 

Au|sa  et  ja|cen-tem  |  vi-se-re  |  re-gijam 
Vol|tu  se|re-no,  |  for-tis  et  |  as-pejras 
Trac  ta-re     ser-pen|tes,  nt  |  a-trum 

Oor-po-re  ||  com-bi-be|ret  ve|ne-num, 

De|li-be|ra-ta  |  mor-te  fe|ro-cijor, 
Sae|vis  Li|bnr-nls  |  sci-li-cet  |  in-vijdens 
Prl;va-ta  |  de-du|cl  su'per-bo 

Non  hn-mi|lis  mn-li|er  tri|um-pho. 

H.     IAMBIC   METRES. 

Horace,  Epodes,  ii. 

Be-a-tus  il-le  qui  pro-cul  ne-go-ti-is, 

Ut  pris-ca  gens  mor-ta-li-um, 
Pa-ter-na  rti-ra  bo-bus  ex-er-cet  su-is, 

So-lu-tus  om-ni  fae-no-re. 

It  is  at  once  obvious  that  the  measure  is  iambic,  the 
odd  lines  containing  six  iambi,  the  even  lines  four.  The 
strict  scheme  will  be  : 


Iambic  Metres. 


43 


\J  


\J 


\J 


KJ  


KJ 


KJ 


KJ 


but  the  spondee  is  occasionally  substituted  for  the  iambus 
in  the  odd  feet  of  the  verse,  and  at  times  even  other 
substitutes  occur,  e.g.  the  tribrach  (y  w  w),  dactyl,  and 
sometimes  the  anapaest  (v^  \j  _ ). 

A  portion  of  the  remainder  of  the  epode  follows  : 

Ne-qne  exjci-ta|tnr  clas]si-co  |  mi-les  |  tru-ci, 

Ne-qne  hor|ret  i|ra-tnm  |  ma-re, 
Fo-rnm|qne  vi|tat  et  |  su-per|ba  ci|vi-nm 

Po-ten|ti-o|mm  li|mi-na. 
Er-g5  ant  |  a-dnljta  vijti-nm  |  pro-pa|gi-ne 

Al-tas  |  ma-ri|tat  po|pn-los, 
Ant  in  |  re-ducjta  val|le  mn!gi-en|ti-nm. 

Pro-spec|tat  er|ran-tis  |  gre-ges, 
I-nn|ti-lis|ve  falice  ra|mos  am|pn-tans 

Fe-li(ci-o|res  in|se-rit, 
Ant  pres|sa  pu|ris  mel|la  con|dit  am|pho-ris, 

Ant  ton|det  m|fir-mas  |  o-ves ; 
Vel  cnm  |  de-co|rnm  mi|ti-bns  |  po-mis  ||  ca-pnt 

An-tnm|nns  agjris  ex|tn-lit, 
Ut  ganjdet  In|si-ti|va  dejcer-pens  ||  pi-ra, 

Oer-tan|tem  et  ujvam  pnr|pn-rae, 
Qna  mn|ne-re|tnr  te,  |  Pri-a]pe  et  te  |  pa-ter 

Sil-vajne,  tti[tor  fi|ni-nm. 
Li-bet  |  ja-cejre  mo-do  |  snb  an|tl-qna  i|li-ce, 


Mo-d°  in  |  te-na|ci  gra 


mi-ne ; 


44  Verses  for  Practice. 

La-bun  |  tur  al|tls  in  te-rim  |  ri-pis  |  a-quae, 

Que-run  tnr  in  |  sil-vis  |  a-ves, 
Fron-desque  lymphis  ob  stre-punt  |  ma-nan  jti-bus, 

Som-nos  |  quod  injvl-tet  |  le-vls. 
At  cum  |  to-nan 'tis  an|nus  hi|ber-nus  |  Jo-vis 

Im-brls  |  ni-visjque  com  pa-rat, 
Aut  triidit  ajciis  hinc  |  et  hinc  |  mul-ta  |  ca-ne 

A-pros  |  in  ob|stan-tIs  |  pla-gas, 
Aut  a-mite  lev!  ra'ra  ten'dit  relti-a, 

Tur-dis  |  e-dajci-bus  |  do-los? 
Pa-vi-dum^que  le-pojrem  et  ad|ve-nam  |  la-que-o  |  gru-em 

Ju-cun  da  capjtat  prae|mi-a. 
Quis  non  |  ma-larum  quas  |  a-mor  |  cu-ras  |  ha-bet 

Haec  inter  oblll-vislci-tur? 


I.     GLYCONIC. 

Catullus,  61. 

Ta-lis  in  va-ri-o  so-let 
Dl-vi-tis  do-mi-nT  hor-tu-lo 
Sta-re  flos  hy-a-cin-thi-nus. 
Sed  mo-ra-ris  a-bit  di-es  : 
Pro-de-as,  no-va  ntip-ta. 

This  is  a  five-line  stanza,  in  which  it  is  manifest  that 
the  syllables  of  each  of  the  first  four  verses  group  them- 
selves thus  : 

\j  I  ^_  \y  kj  I  w      ^  ; 

1  In  this  verse  an  anapaest  (u  u  _)  is  substituted  twice  for  the 
iambus. 


O-lyconic.  45 

while  the  fifth  verse  has  the  form 


w      \j  \j      \y 


Other  stanzas  from  the  same  poem  follow  : 

Pro-dejas,  no-va  |  ntip-ta  j  si 
Jam  vi|de-tur?  et  |  an-di|as 
Nos-tra  |  ver-ba.    Vi de  at  faces 
Au-rejas  qua-ti|unt  co  mas  : 
Pro-dejas  no-va  |  nup-ta. 

Ne  diu  ta-ce|at  procax 
Fes-cennl-na  jo  ca-ti|o? 
Nee  nu|ces  pu-e;ris  ne'get 
De-ser!tum  do-mi'n1  au-diens 
Con-cubl-nus  ajmo-rem. 

Da  nn|ces  pu-e  ris,  i|ners 
Con-cu  bl-ne  :  sajtis  dijii 
Lti-sis ti  nu-cibus  :  li|bet 
Jam  ser|vi-re  Ta|las-si  o. 
Con-cujbl-ne  nuces  da. 

Trans-fer  |  o-mi-ne  |  cum  bo|no 
Li-men  |  au-re-o'los  pedes, 
Ba-si|lem-que  sujbi  forem. 
0  Hy  men  Hy-me  naee  i  o 
0  Hymen  Hy-me nae-e. 


46 


Jrerses  for  Practice. 

Lu-diite  ut  li-bet  II  et  bre  vi 
Li-beros  da-te.      Non  decet 
Tarn  ve|tus  si-ne     ll-bejris 
No-men  ]  es-se,  sed  ||  in-di|dem 
Sem-per  |  in-ge-nejra-ri. 


Tor-quatus  vo-lo     par-vu|lus 
Ma-tris     e  gre-mi|o  suae 
Por-ri|gens  te-ne|ras  mantis 
Dul-ce  J  ri-de-at     ad  pa|trem 
Se-mi-hi  an-te  label-lo. 


Sit  sujo  si-milis  patri 
Man-li  °  et  fa-ci|le  in-sci|is 
Nos-cite-tur  ab  |  om-nibus 
Et  pu|di-ci-ti|am  suae 

Ma-tris  j  in-di-cet  |  o-re. 


